1. Michael and I were staying with Tom and Joyce – maybe1991 – and we went to visit friends/neighbors – Judy Linn and Don and Leslie and you and Catherine etc (can’t remember who else) and this is the part where I remember white socks, and white unders, and white T shirts on the line. It was autumn. We didn’t stop in – as I was sort of out of my element – all new acquaintances – though Michael knew every- one. Let’s just say I wish I had a photograph of that clothes line… then as I got to know Catherine’s work I began to imagine that she had hung the laundry – but then when I saw your work I realized you may have been the one. I so wish I had taken a camera along that day. Please keep shooting your visual diary – time passes more quickly now.
2. I was born in 1947 and moved to New York in 1967. My first place was a $56 a month seven floor walkup on West Broadway. An exhibition history begins at the Hundred Dollar Gallery run by Poppy Johnson – it was a seminal minimalism/utopian gallery and my friends didn’t know those were my paintings because I used the name Haynes. This was the first time I exhibited the pocket paintings I had been quietly working on for some years. The Vogels shopped there – but unfortunately neglected to acquire my work. I exhibited there in 1978. At any rate – there are endless stories about those years – but I’ve noticed a lot of fictionalizing as well. These days I am represented by George Lawson, SF – Hubert Winter, Vienna – Regina Rex Gallery – NY. My paintings concern non-subject matter – non-representational – conceptualism mostly – deconstruction, the painted illusion of light, a sense of impermanence. The paintings are generally oil paint – quite traditional – though now and then I return to glow-in-the-dark acrylic as I’ve used that on and off for decades. One of the artists I most admire is On Kawara. Since around 2008 a separate group of my work has been a bit of a departure. I have been working on an anomalous body of paintings that I think of as non-sequiturs. I am naming the series “autobiographical color charts.” (see loveletter, 2011) These paintings use bright colors and allow me the opportunity to tap into my stockpile of old tubes of paint, going back decades. They conjure associations and memories of my earlier paintings as well as with the work of other painters who have influenced me – Jasper Johns, for instance. The paintings serve as homage, an aide memoire, a conceptual retrospective, and as my own remembrance of things past. I either used these colors in paintings – or at least tried to and failed.